An outstanding album which improves upon the Swedish singer's great debut.

With its hurtling, remorselessly breakneck pace this isn't an album you listen to as such; rather, you grapple with it.

He Is #1 has a refreshingly unencumbered sound, a lack of technological interference allowing the honesty and authenticity of the music to shine through.

The songs here might take a little longer to unlock than their predecessors, but none of them strike a false note.

Goodman casts a spell on the listener with Sees the Light.

This impressive debut belies Harvieu's tender years.

This is a transatlantic musical campaign whose virtuosity, verve and sheer eccentric heart make it hard to resist.

Pop Tune finds the Japanese three-piece in fine form, exhibiting a wide-eyed freshness all the more remarkable when you consider that they have been a going concern since 1981.

A majestic return and, let us hope, a harbinger of more to come.

The way Marnie plays is fresh, but she does hold true to some central tenets of rock’n’roll in her fizzing songs: invincibility and defiance.

Album proper or not, there's no denying this is greatly entertaining stuff.

With the constant variation found on the record--and what is probably Friden's most comfortable vocal performance of his career--they sound like a brand-new outfit, and you wouldn't bet against the Swedes gaining a whole new lease of life as a result.

Always building and beautiful, their sparse, even minimal, approach lends Penny Sparkle a complexity that's both rich and rewarding in both its inspiration and execution.

La La Land is so warm and easy to like, it triumphs over any misgivings.

With material of a standard to match his fantastic pipes, here Callaway has crafted his finest Cee-Lo long-player yet.

This is a collaboration that makes sense. Both share a taste for a rather languid tempo, that of small-town life and the more tender, bittersweet emotions; and theirs is a pairing that's complementary.

This self-contradiction makes him as human and vulnerable as the rest of us, and that is this album's true charm.

Bluntly, Lisbon is a collation and culmination of their finest work in years. Rather than a selection of scattered snapshots, this time we've got the bigger picture. And it's irresistible.

Now, it seems, her time has finally come.

The vivid nostalgia remains, with these all-original cuts sounding like they could easily have been laid down back in the golden ages of the 1950s and 60s.

Thoughtful rap that deserves mainstream attention.

Lyrics are route-one effective throughout, as you'd expect from an album called Boys & Girls, but the Shakes are not one-dimensional.

End Times plays to Everett’s strengths, offering enough intrigue and wonder to keep happy listeners new and old.

There's nothing vague or routine about this elegant, charming and quietly profound record.

Girl on Fire is a smart album, maintaining the high standards set on The Element of Freedom.

A rewarding indie-pop set that's as warm and comforting as a hot water bottle at the end of a bed.

In lesser hands, such 'fusion' elements could have fallen flat, but Aurelio's obvious talent, and Duran's sterling musical arrangements, instead yield an impressive album that simply sounds better which each new listening.

This set is a welcome throwback to simpler, gentler times.